Michelle Schultz

Michelle Schultz is an arts writer, curator and editor based in London, UK. Originally from Canada, she moved to London in 2004 and there found love in art. She completed an MA in Contemporary Art at the Sotheby's Institute of Art, and has been working with various institutions since. She has contributed to a number of print and digital publications, and can be found trolling around studios, bookshops and galleries in London and beyond.

From this Author

Polly Morgan is an artist notorious for her taxidermied animal assemblages that skillfully transform a tradition often seen as kitsch or macabre into elegant and highly sought-after creations. Initially training with professional taxidermist George Jamieson, Morgan set out not necessarily to make art, but rather as a way to furnish her own flat. She continued to create, trying preserving the moments between decay and death,[…..]

Order and control are nothing but illusions. Underlying even the most structured of appearances, randomness and chance are at the helm, and it is these concepts that prevail in the workings of London-based artist Alexis Harding. Throughout Harding’s work, structures are shown to fail, grids collapse, and hard-edged systems give way to entropy. What began in his practice as an act of figurative negation, evolved[…..]

Louise Bourgeois’ life is not just any open book – it more resembles a multi-volume anthology with pages torn out, chapters re-written, and notes cryptically hidden in the margins. While Bourgeois spoke openly about many of the subjects which infiltrate in her work, including the difficult relationship she had with her adulterous father and her traumatising childhood, she did not share unconditionally, and as we[…..]

Surrounded by 100 billion suns, it is nearly impossibility to not let feelings of insignificance take over – simply a minute speck standing within a vast universe. The macrocosmic nature of Scottish artist Katie Paterson’s work cultivates these diminutive impressions – whether we are listening to the sounds of silence reflected off the moon, or looking far back into the universe to a place where[…..]

When I first saw David Shrigley, I was taken aback by his calm aura and semblance of complete normalcy. A man known for his searing dead-pan humour, I half-expected to see a crazed post-punk artist living on the fringes of society. But here was a charming, clean-cut gentleman, tranquilly tattooing ink drawings onto willing participants in the middle of London’s most extravagant art fair. Calm,[…..]

‘We all know that art is not truth. Art is a lie that makes us realise the truth, at least the truth that is given us to understand. The artist must know how to convince others of the truthfulness of his lies.’ – Pablo Picasso Saskia Olde Wolbers’ works are full of lies, half-truths and fabrications. What may at first glance appear to be a[…..]

From the very beginning, Damien Hirst: The Complete Spot Paintings 1986-2011, was always going to be the target of much contempt. An embodiment of savvy self-promotion, Damien Hirst has become the world’s richest living artist, and with that, a scapegoat for the pompous market and inflated celebrity status representing all that is wrong with contemporary art today. This latest publicity stunt – a gargantuan worldwide[…..]